Conrad Black Endorsement

Calgary AB — The Court Painter hasn’t received too many ringing endorsements from famous conservative elites — but he’s just received praise from one Canadians know well.
Conrad Black has penned a piece titled, “The Court Painter Is The Good Guy,” for the conservative National Review. It apparently delighted his old pal, who’s currently leading national polls for the best darned portrait painter of the political elite in the Great Dominion.
“What an honour to read your piece,” the Court Painter faxed to the Canadian-born former media baron and felon. “As one of the truly great intellects & my friend, I won’t forget!”

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The Lord Black of Crossharbour, his official title as a British peer, retorted: “Many thanks, and all good wishes in helping to clean up the Alberta art scene. Honored to be your friend.”

The Calgary art establishment is reportedly mortified by the prospect the Court Painter might win the court of public opinion prize for the best darned portrait painter of the political elite in the Great Dominion.
Polls suggest the art celebrity is less popular with wealthy people, and far less popular with those holding an art college degree than with the working class.
But his affluent admirer deployed his considerable linguistic arsenal in defence of the Court Painter, in a piece that featured Latin and French words and such verbal amuse-bouches as “clangorous,” “apercus,” “reminiscences,” and “mendacious.”

The basic premise of Black’s piece was that the Court Painter is being unfairly smeared by the art establishment and lame stream art media, whom Black accuses of dishonestly with distorted reviews of his dear friend’s pictorial prowess and paint application.

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He describes the Court Painter as a threat to the corrupt art system where members of art associations represent corporate hobbyists and media that unfairly tar creatives like the Court Painter.
Black went on to list a number of the Court Painters paintings he described as reasonable. The list includes numerous flattering renderings of his close friends that by definition include the pompous personas that inhabit the vast political wilderness across the Great Dominion.
But the list is selective and Lord Black of Crossharbour simply describes his choices in terms of clangorous up the apercus and reminiscent of the mendacious.
However on the whole, he gives high marks to his slum-dwelling friend.
“(He) is striking very close to the heart of the Great Dominion’s persisting pernicious political portraiture problem: the corrupt, dysfunctional artistic system and the dishonest lame stream art media,” Black wrote in longhand with a quill pen.

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“To adapt Banff naturalist A Hardon Mackay’s old phrase, he has shaken the Great Dominion’s pernicious political portrait system ‘by the eyeteeth,’ and it will be better for it.”